I have always enjoyed science fiction, particularly the writings of Ursula le Guin, as a way of exploring hypothetical alternative societies, cultures, futures, and histories. I don’t enjoy most fantasy. I do enjoy urban fantasy, which is more like science fiction. I am currently watching Babylon 5 again on DVD, and would highly recommend it as an exploration of what happens when a totalitarian and xenophobic government takes over, and how people come together to resist.
Both fantasy and SF present alternative visions of the world; but some of these visions are helpful, and others are not. Some are dystopian, some are utopian. Some are hierarchical, some are egalitarian. Some have individual heroes, others have resistance movements. Some inspired whole Pagan movements, such as the Church of All Worlds, inspired by Heinlein’s Stranger in a Strange Land. Can you grok that? There are a surprising number of parallels between Paganism and SF, and a lot of Pagans who read SF, too.
The other day, I saw this tweet, and it set me thinking. Would people who said they’d follow the MockingJay, or fight in Dumbledore’s army, actually resist fascism? Would they be able to relate the fantasy world resistance to the real thing?
If you ever said you’d fight in Dumbledore’s army, you’d follow the MockingJay, you’d fight back against the Empire – now is the time. pic.twitter.com/k6yJGQs5uo
— Sharar Ravitz (@JewfroMacabbi) November 22, 2016
In order to answer that question, which of these genres provides better models for resistance, we have to take a step back to another question.
What’s the difference between fantasy and SF?
In science fiction, there is usually an explanation (however tenuous or inferred) of how the world, and the technology in it, came to be the way it is. Science fiction can include alternative histories, what-if scenarios, extrapolations into the future, utopias, and dystopias. It has many sub-genres. There’s hard science fiction, which mainly deals with the effects of technology on society; soft science fiction, which is written more from a social science perspective (anthropology or sociology, sometimes linguistics or psychology). There’s steampunk, where the technology is mostly steam-driven, with lots of cogs and brass (this emerged out of the alternative history sub-genre). SF is sometimes called speculative fiction.
In fantasy, the underlying technology is generally magic. Fantasy also has several sub-genres. There’s the sword and sorcery tale. There’s space opera (which is basically fantasy masquerading as SF). A lot of fantasy seems to be set in a very hierarchical medieval or feudal world, and often in a magic kingdom which is reached by a magic door (or wardrobe, or mirror). There are many interesting and classic fantasy novels, but in many ways the genre was put out of joint by the sheer weight of The Lord of the Rings, which has had many imitators, most of them bad (I really like LoTR, but for goodness’ sake, get your own plot, fantasy authors). And quite frankly, the Harry Potter books are basically a school story with magic in it (though I heartily approve of the egalitarian behaviour of “Dumbledore’s Army”, and of the brilliant caricature of OFSTED in the person of Dolores Umbridge). A marvellous exception to all of this is Philip Pullman’s brilliant His Dark Materials trilogy, which is deeply anti-authoritarian, and has quite a lot of crossover with science fiction, with parallel worlds, and even a slight steampunk feel to some of the worlds in it. And of course there’s Terry Pratchett’s brilliantly insightful Discworld novels, which are arguably Pagan theology at its finest.
Urban fantasy, on the other hand, is set in our reality, into which fantastic elements emerge, and it uses these to comment on things in our world. Examples include most of Neil Gaiman‘s oeuvre, Seanan McGuire’s hilarious InCryptid series, which is about the adventures of a family of cryptozoologists, the Storm trilogy by R A Smith, and The Last Changeling by F R Maher.
Models for resistance in SF and fantasy
In fantasy novels, when someone resists the encroachment of evil, the evil is usually fairly obvious, and frequently relies on a supernatural source of power. It’s a Dark Lord (Voldemort, Sauron, etc). Better quality fantasy novels have more subtle tyrants, like Saruman, who started out trying to resist Sauron, but because he tried to use Sauron’s power to do so, ended up becoming like Sauron himself. Another example of a subtly-drawn tyrant is Mrs Coulter in His Dark Materials, who works for the Magisterium, and indeed Lyra’s father, Lord Asriel, who is something of an ambivalent character. The protagonist of these novels is usually especially gifted with magical powers to resist the evil (the Old Ones in The Dark is Rising; Harry Potter; even Lyra), or has been fated to be the one to resist since the beginning of time, or since their birth. One of the clever things about The Lord of the Rings is that there’s nothing all that special about Frodo Baggins, except perhaps the ordinariness of hobbits. As Tolkien himself pointed out, it is Frodo’s vulnerability and smallness that fitted him for the task.
In science fiction novels and dramas, the evil or oppression to be resisted is often systemic, and identifiable as a human construct, the outcome of a complex web of causality (though sometimes, as in Asimov’s story The Caves of Steel, it’s the consequence of the environment). Because the evil or oppression is usually systemic, the means of resisting it is usually co-operative and collaborative; not led by one single hero, but requiring the input of many people working together. In Babylon 5, for example, although Sheridan is important as a leader of the resistance, he couldn’t have done it without Delenn, Ivanova, Garibaldi, Franklin, the resistance on Mars, the co-operation of the security people who didn’t collaborate with the regime, and so on. In Starhawk’s The Fifth Sacred Thing and City of Refuge, the resistance consists of many different individuals coming together to bring about change.
Bertolt Brecht, Darko Suvin, and cognitive estrangement
In his ground-breaking essay, Estrangement and Cognition (1968, 1979, 2014), where he analyses the difference between SF and fantasy, Darko Suvin, a Croatian-Canadian literary critic, wrote that science fiction engages in ‘cognitive estrangement’. Suvin says that fantasy and myth is estranged from everyday reality, but it does not ask us to think about why; we accept the magic door, and other magical effects, as a priori necessities in the fantastical universe. Literary fiction, set in our universe, is not estranged, though it may be cognitive and require us to think about cause and effect. Science fiction, on the other hand, is set in an alternative world, but it is one we are required to think about, and to actively construct in our imaginations by looking for clues in the text about how the world, and its technology, works; how the society of the SF novel came to be the way it is.
Suvin based his interpretation on the Russian theatre technique of ostranenie, a term coined by the playwright Shklovsky, and meaning ‘making the familiar strange’. This is similar to Bertolt Brecht’s usage of Verfremdungseffekte (often translated as ‘alienation effects’, but Suvin’s translation, ‘estrangement effects’, gets the idea across much better). It’s possible that Brecht was told about the technique on a visit to Moscow in 1935. Brecht created his plays and poetry to get people thinking, and to do that, he didn’t want them to identify with the characters and achieve a cathartic effect or a discharge of emotion. Instead, he wanted people to think about what they would do in a similar situation, or about the causes of the situation. Why does Mother Courage go round and round in circles, getting poorer and more miserable? Why do the characters of The Threepenny Opera have such terrible lives? Brecht wants us to analyse the underlying causes, as well as having a general solidarity or empathy with the characters.
The beauty of the science fictional setting, of course, is that it is already strange, and so it makes the reader think about what is happening, so that they can piece together how this fictional world works. In his essay on science fiction in Speculations on Speculation, Samuel R Delaney quotes a sentence, “I rubbed depilatory soap over my face and rinsed it with the trickle from the fresh water tap” (from Pohl and Kornbluth’s The Space Merchants). As Delaney points out, this single sentence lets you know that there is a water shortage in this world, because there is only a trickle from the fresh water tap, and the fact that it is labelled fresh tells you that there’s another tap with non-fresh water. This leads the reader to ask, why is there a water shortage? Has there been an environmental catastrophe, or is it a desert world?
Fantasy, on the other hand, does expect the reader to identify with the characters, and to achieve an emotional catharsis through the dramatic journey that they experience. Readers of fantasy, however, know that the proper order will be restored in the end, and the evil tyrant defeated, because that’s how fantasy works. They also know that it’s the job of the pre-destined hero with the special powers to defeat the evil tyrant. And of course they know that in the real world, the odds may be stacked against the hero. Fantasy doesn’t provide much of a road-map for defeating a whole system of tyranny. It’s very good on overthrowing the Dark Lord with a magic sword, but what if the Dark Lord has loads of minions waiting in the wings who are just as obnoxious as he is?
Science fiction, on the other hand, being set in ostensibly the same universe as the one we live in, with the same physical properties, and the same sort of people (barring the occasional telepath), and dealing as it does with whole systems of oppression or flourishing, is much better placed to provide us with road-maps for resistance. Of course there are exceptions to the picture I am painting here, but it’s mostly true.
Resistance is collective. Yes, there are those who dare to dream bigger and better, and actually do something, and they are extremely important as catalysts – but a catalyst is no good unless it is followed by a reaction. One excellent example is when Alley Valkyrie and Rhyd Wildermuth founded Gods & Radicals – but all the other people who said “Yes! Pagan anti-capitalism, that’s exactly what we need” – the other writers, and the readers who read our stuff, are part of a collective sea-change in thinking, and acting.
In order to bring about change, we need to create a mass movement of people who are tired of racism, tired of homophobia, tired of misogyny, tired of austerity, tired of capitalism. We need to inspire them to dream something different. And we need to show them the blueprints for change, not just tell them that it is possible.
As Ursula le Guin said at the National Book Awards in 2014,
Hard times are coming, when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom – poets, visionaries – realists of a larger reality.
And she went on to add,
We live in capitalism, its power seems inescapable – but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words.
Most fantasy merely provides an excursion from the normal order of things, in the same way that carnival and Saturnalia were an inversion of the normal order, a letting-off of steam in order to facilitate a return to business-as-usual. It would be good to see more fantasy that challenges the usual tropes of fantasy – which is why urban fantasy is such a refreshing change.
Science fiction, on the other hand, provides a blueprint for other ways of being, other ways of thinking, other ways of feeling. It puts the characters in a hypothetical situation and asks what the human reaction to that situation would be; not the superhero reaction, but the human one. It can posit whole different ways of organising society, or gender, or sexuality, or the economy, and explore in depth how they would work, and how people would flourish or struggle in that environment.
Recommended reading – fiction
- The Fifth Sacred Thing – Starhawk
- City of Refuge – Starhawk
- The Dispossessed – Ursula Le Guin
- Always Coming Home – Ursula Le Guin
- Empire of Bones – Liz Williams
- The Ghost Sister – Liz Williams
Recommended reading – non-fiction
- Speculations on Speculation: Theories of Science Fiction, eds James Gunn and Matthew Candelaria
- The Anarres Project for alternative futures
Rosa Mason has been a Pagan since 1985 and a Wiccan since 1991. She is genderqueer, bisexual, and has been an anarchist socialist green leftie feminist for the last thirty years.
Though it’s not fiction, it’s still got some pretty good ideas in it! Check out Pagan Anarchism, available in print or digital.